Laurel Berger

Jennifer Croft is a translator of uncommon energy. In 2018 she won the International Booker Prize for her rendering of Flights by Olga Tokarczuk. In 2021, she took on Tokarczuk’s The Books of Jacob, a great big historical epic. Now she’s written a satirical page-turner set over what one character calls ‘seven toxic, harrowing, oddly arousing, extremely fruitful weeks’. Like members of some ancient mystery cult, eight translators fetch up in a house near a primeval forest in Poland on the Belarus border. The year is 2017. ‘Bedraggled and ecstatic’, they’ve come to translate Szara eminencja (Grey Eminence), a novel about art and mass extinction, by the Stockholm-worthy woman of letters Irena Rey – their host, their author, their Athena.

Janet Malcolm’s formulation that a ‘journalist is a kind of confidence man, preying on people’s vanity, ignorance or loneliness, gaining their trust and betraying them without remorse’ comes to mind on page two of the darkly refulgent One Hundred Saturdays. That’s when the author Michael Frank mentions it was his idea to accompany his new friend, Stella Levi, on a journey back to her native Rhodes. Readers feel protective of old women, and all the more so if, like Levi, they are Holocaust survivors. As if to allay readers’ apprehensions, Frank writes: ‘Later she will tell me this was one of the reasons why she decided to trust me with her story. Later I will understand that I went, in part, to earn her trust.

The potter and author Edmund de Waal revisits familiar terrain at an angle in his third book, Letters to Camondo. Ten years after the publication of his debut memoir, The Hare with Amber Eyes, he is once again in Paris, lurking about the rue de Monceau, ruminating on dust, trying to make the dead speak. He’s particularly keen to elicit a word from Count Moïse de Camondo (1860-1935), the last patriarch of a clan of absurdly rich French Jewish bankers with roots in Constantinople. The count was a friend and neighbour of de Waal’s cousin, the art historian Charles Ephrussi, whose collection of Japanese netsuke played such a large role in The Hare with Amber Eyes. The wary reader may ask: hasn’t de Waal had quite enough of the rue de Monceau?